Licensing

In this brave, bold, and frequently shocking report, Ehrbar goes beyond the wink and nod of world finance and thrusts us deep into the underworld of international licensing agreements. With courage and conviction, Ehrbar unravels the shroud of secrecy that weaves this international cartel together leaving this once untouchable creature exposed and naked before the reader's eyes. Using riveting investigative journalism, akin to Morrow, Woodward and Walters, Ehrbar risks his own personal safety to bring us chapter upon chapter of nail-biting intrigue and international espionage. Taking the reader through 14 key international markets, we meet the unscrupulous Dr. No Cho Low of The Peoples Republic who crushes his opponents with his trademark "fine-print". In Chapter 57, tariffs and international trade barriers are cleverly skirted through the underhanded loopholes of Vlad Solvaski. Finally, in Chapter 487, Ehrbar gives us hope that international order will prevail when Morry the orphan refuses to succumb to the "final offer" by making a counter demand that leaves the party of the first part weak and defenseless.

Page after page, chapter after chapter, this book is truly a one of a kind masterpiece. Unfortunately, but understandably, Ehrbar leaves us with many unanswered questions, most notably, the existence of the mysterious 15th key international market. These questions will undoubtedly be answered in the long anticipated sequel, provided, of course, Thomas J. Erhbar, himself, does not become then next victim of the International Market cartel.

Big little book; that is little and big both, and especially big in the ideas department. Big subject has to have big ideas, huge ideas in fact. Now take this licensing in perpetuity thing that EVERYBODY has to have these days. You know? What gives? What a perp got to do with it? Huh Ehbar ? What? WHAT? Great big black bat of a book I tell you.

This book rules! Never before have I been so entranced by the process of finding a suitable local partner for a license, for example. (Did you know this is generally conducted through private negotiations between the parties concerned? In Chile, at least. It's true. All true.)

It sure pisses me off that MacMillan let this masterpiece go out of print. Who the hell is Business International anyway?

I have been using an older version of this book, the 1993-94, thinking a newer version was not available. I am so excited to find that a newer copy is available. This book is invaluable to me in my work and hope that a copy is always available in the future.

great book...very comprehensive on all aspects of cosmetology licensing

Very helpful and well written. Thanks for a great book.

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This is the most advanced book I have seen on licensing. Until I read this book, I hadn't fully appreciated the extent to which licensing is a business.

Any inventor of technology, from low-tech to high-tech, could apply the business strategies laid out in this book. I am not aware of any book that adds so much to the licensing field. This author really has something new to contribute, and does so in plain language.

Although this book is written for Canadian innovators, the strategies it lays out apply to innovation in any country. The same is true of the strategies it lays out on global transfer pricing, something I had never considered in the business of technology licensing.

It is logical, though, that this book originates in Canada because almost half of Canada's GDP is generated globally (much higher than most other countries) and therefore global licensing and transfer pricing are particularly important to Canadians and to Canada's role in the new economy.

I would buy this book just for the analysis of the business of licensing, or just for the analysis of transfer pricing. As a Canadian reader, I would also buy this book just for the final chapter, which exposes the true nature of Canada's international tax law regime.

I discovered this book when I was researching an article "Who owns the rights? Copyright, the law and licensing the show," which was published in the Summer 1999 issue of the Educational Theatre Association quarterly Teaching Theatre (Volume 10, Number 4) and which is now available online (though the reviewer guidelines do not allow me to post the URL, so anyone interested will have to email me at knscott@juno.com for it). Kohn on Music Licensing is a most valuable resource for anyone who either does musical theatre, or uses music in theatrical production, since it makes clear aspects of musical licensing that I am sure are as mysterious to many others as they were to me before reading this book. In my opinion, every theatre educator or community theater producer/director should read both Chapter 18, "The Grand Rights Controversy", and Chapter 14, "Synchronization Licenses," before producing another musical (or excerpt from one) or using any copyright-protected music "dramatically" (a term defined in the book) in the production of any play. AND the authors maintain a Website to which readers can bring any question still unclear after reading the book.

This is the Bible of music copyrighting and licensing. With the coming of age of the Internet, transferring copywritten information online will become increasingly in the spot light and this book makes sense of it.

This was the best book I ever read to help me pass my state exam and both parts too.... at one time. Julie's way with words seem to put it all together by cutting to the real issue of whats needed in passing the exam. The study concept she gives you prepares one for a very hard exam, and by being real with words that none real estate people can relate to, your confidents and smarts come together.Combine the above with ample pre-tests and a well proven study concept and the exam is a cake walk. Again, if you want to pass your exam......this is the book to read!!!

I DIDN'T KNOW THAT HAVE A BAYWATCH COOKBOOK BECAUSE I NEVER HORD OF I

This book deals with the business of gettings songs into Film or getting work as a Film/TV composer (worldwide, not just in the US); it covers where you find people who need music, what to say to them, how to negotiate and has an excellent section on typical clauses in music contracts.

I have read most of the books on music in Film, but this one is different - it is very practical and gives you step-by-step instructions. I feel that if I follow the authors advice, I have a very good chance of hearing my music in a Film or TV show soon !

This book is compiled with articles of the specialist in the field of negotiating. It concist of four parts; the first part is introduction to negotiation, the second part deals with the cultural aspects of international negotiating, the third part handles the negotiating processes itself and the last part gives examples of negotiating styles in different countries, like US, Japan, Europe etc.. In the articles you will find are lovely and sometimes amusing examples that illustrate the theories.

In an age where 99% of Britons are (apparently) inveterate gamblers (viz: the lottery) what might, at first blush, appear an arcane legal text is increasingly a must for all interested in the field - from the trackside bookie to the participant in the works' sweepstake. Clearly written, witty and informative, this tome is an absolute steal - buy it now - you won't be disappointed!

It is an article of faith in the legal profession that licensing is one of the most complex and intricate fields of practice. Its reputation is under threat because this book has unravelled the legislation to present a lucid exposition of the law. The book is easy to use, remarkably well cross-referenced and comprehensive in its scope. Just compare the length of the table of cases with its nearest rivals to get an idea of the advance that this magnificent book has made in the study of licensing law. It is a model for textbook writing and I dare say that a lawyer would be professionally negligent in doing licensing work without referring to McGrath on Licensing.